FREE VERSE POEM, MID RENT INTERLUDE, Alis
by Mark Meredith
Summary: December twenty-fourth eight fifty-five PM Eastern Time Standard Time: from here on in: Alison-Grey-baby sounds sad. Why does Aly-Grey-baby sound sad: it is a joke hidden in the play version by Larson: John: Angel Schunard just killed the dog Akita just before Mr. Collins chose that phone booth back where Angel set up his drums: you get it already: it's frickin' hilarious: right!
1. Chapter 1

G. M. Approximately Words Counted 300

6 Grove _2014, G. M.

Disposable Copy

3372

'SAD ': SHORT INTRODUCTION: FREE VERSE

by

Mark Walter Meredith

December twenty-fourth eight fifty-five PM Eastern Time Standard Time: from here on in: Alison-Grey-baby sounds sad.

Why does Aly-Grey-baby sound sad: it is a joke hidden in the play version by Larson: (: John:): Angel Schunard _just_ killed the dog Akita** just be**fore Mr. Collins chose that phone booth back where Angel set up his drums: you get it already: it's frickin' hilarious right: Larson (John) was a genius at stuff like that!

This story happens after Akita swan dived out of Aly-Grey-baby's window into Gracie Mews: what was happening during the beginning of the rock opera song called, Rent: Larson (John) rules over Larson (John's) characters wherever used throughout the universe:

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G. M. Approximate Words Counted 1,900

6 Grove _2014, G. M.

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3372

FREE VERSE POEM, MID RENT INTERLUDE, ALISON BABY

by

Mark W. Meredith

It was December 24: 8:55: PM: Eastern Standard Time.

**Allison** sat at the edge of the couch: slumped down sadly: sadly enough.

Ever since the marriage, **Allison** felt bad, guilty for the scene _Benny Grey-Coffin's _ old friends made at the wedding.

**Allison** told him during the beginning of the after wedding celebration that_ Coffin _might as well give_ Coffin's _friends the news about how he was going to buy the building down the street near the corners of Eleventh St. from the old music publishing factory, also the empty lot next door.

More over, that they were going to have to say good-by.

To their little homeless friends.

That Maureen, **Cohen**, Mr. Davis do pictures about or talk to them or whatever they do.

**Allison** watched sort-of from afar, as Mr. Davis looked mad, stern, looking hard at him.

Silently Mr. Davis then looked strangely out of the corner of Mr. Davis's eyes as if he thought he was crazy as they finally got their chance to speak.

Meredith-2 'LUDE, ALISON BABY

**Allison** remembered how Maureen had her arm around **Cohen's** shoulder as they were stood there together.

Maureen sometimes fawned all over **Cohen** because he was so smart about electronics.

**Cohen**, Maureen stood there looking like that old cartoon with the short person, the tall man, _Mutt_, Jeff._ 

_ That Amazon Maureen stood over him with one arm touching **Cohen**.

**Cohen** said: **Maureen does modern art performances about such unfeeling attitudes towards the homeless. **

**How can you say something like that right in front of us,**_** Coffin**_**?! **

**What about the ideals you said that you had when the**_** Coffin **_**we thought we knew used to live with us?! **

_Coffin_ merely replied **I still have the idealisms I once had of helping poor people as before, but in a different way. **

**I still believe that the bums have a right to stay on an empty lot that the owner doesn't do anything with while they get back on their feet. **

It's just that I now believe that the owner of the lot could help the bums by telling them to get off the lot, get a job.

**One has to help one's self, one's family **_**first**_** don't you think?**

Mr. Davis finally got up the anger up to state his point; **society will not let them have a job! **

**The Societal Machine will only allow them rags to survive!**

_Coffin _simply replied, **is that my problem? **

**What does that have to do with me? **

**The clothes I wear now that I am making a more comfortable living probably have just as many atoms as rags. **

**My clothes are just made of rare atoms that cost! **

**My wearing finer molecule in generality on my atomic structure doesn't connect my molecular structure to any of those bums so why does one blame:**_** Coffin **_** for their misfortunes: all**_** Coffin **_**is doing is telling the police that those **_**bums**_** are trespassers on my lot. **

**All I'm doing is moving the molecules in my mouth in such a way that the police can understand the vibrations coming out of**_** Coffin's **_**throat. **

**All Grey is doing is making vibrating air:**_** Coffin**_** is not to blame for how the Societal Machine is.**

Meredith-3 'TERLUDE, ALISON BABY

**Cohen** replied, _**Coffin **_** you can break down everything you're doing into math, calculus, scientific explanations, it looks like simple logic until nobody could understand it all you want, but nothing can change what you're actually doing, that is you are destroying people's lives! **

_**Coffin,**_** you are causing a number of homeless people to scream out in pain! **

_**Coffin: **_**you are burning people's throats with gas grenades, people's eyes with mace spray, you are too bad a person to care!**

_Coffin: _then said, "Of course, I am a good person because I'm logical; logic means I am right.

Good means the same as right.

I have feelings like anybody.

There are times I almost pity bums but being a man of great character means taking over, becoming the leader".

**Cohen** then said, **if one cannot accept, act upon a simple immutable fact that you cannot hurt another human being, then you are not logical. **

**It only means that you are not right. **

It means that you cannot listen to the facts.

**It means that **_**Coffin **_** is too stupid to make an informed decision.**

Meredith-4 'RENT INTERLUDE, ALISON BABY

_Coffin _seemed almost to spit out the words like they were poison; **I don't believe that I'm stupid. **

**I will tell you what I think though. **

**I think you all are ignorant.**

Thomas Collins: being the college student that graduated said, **you don't even know what ignorant means in this case because you're the one being ignorant **_**in **_**this ** **case.**

_Coffin _retorted, **you all just are not logical enough: you all know what? **

**You all know what: if you're all going to call me stupid when technically I obviously am not the pack up, leave my wedding. **

**Get up, do a 180 around: leave my father's back yard if you are going to disagree with me again tonight in my own wedding**:

Maureen said, "It's your father-in-law's back yard_: Coffin._

If you want to get people dragged off someone's property then maybe the actual owner should have the guts to tell them to get off:_ Coffin__**.**_"

_Coffin _called back as he walked away to the center of the reception to talk to more important people, **I'm** **trying to help people like me when we all lived together in that loft together: I promised that I would follow our dreams, buy that building so that we could have a place to practice modern art. **

**Write songs, produce films: there's no money in that: I have to compromise to follow my dreams. **

**I have plans for us still: just you wait see: you'll see: you'll see**: she had stood at one of the hors d'oeuvre tables next to the wall of the back of Daddy's house that was white: **Allison** turned sideways: pretending that she wasn't listening to it!

All:** Allison** suddenly felt very visible to everybody at the reception: even though **Allison** knew nobody was.

She felt as though the small group of_ Coffin's _old guy-friends were giving **Allison** a dirty: long stare but knew that they weren't the kind of people to do that.

Meredith-5 'RENT INTERLUDE, ALISON BABY

Suddenly: **Mark** finally said, "What do you guys say:_ Coffin _ says we can stay since we're not going to disagree with him again today anyway.

Do we stay: "

Collin's said, **I'm stuffed enough now: what do you guys say: I don't even want to think about food for the rest of the night. **

**I don't want to fill up napkins with food or fill up on food all night when people might be thinking that we're no longer friends of**_** Coffin's,**_** we're just filling up on food because we're poor people.**

**Cohen** said, **I'm stuffed for today: I could go home.**

Meredith-6 'TERLUDE, ALISON BABY

Mr. Davis said, **I'm stuffed for tonight. **

**I'll go with you.**

Maureen said, **I'm stuffed. **

**Let's go. **

**Everybody here is **_**all-old**_** here anyway. **

**We don't want to think about food right now, all we can do is living for the moment: so let's leave for right now.**

**Cohen** said, **I'm starting to hate when**_** Coffin **_**is around: **

**(: fuck:): (: that is all shit: ): though: if only he could show one act of empathy: one kind act that shows us that**_** Coffin **_**can sympathize with someone in real pain. **

**If only there was some way ****he ****could show us that**_** Coffin **_**himself can show us that**_** Coffin **_**has a different life now: but that he still emotionally in contact with us as a real friend. **

They all eventually began to walk away from the wedding: from_ Coffin's _life.

**Allison** finally came back to the real world from the world of her memory.

Did **Allison** come between_ Coffin's friends, him__**: **_why can't people see when people are trying to help them?

Why can't people just be logical,_**just **_**not** feel it when people that live in comfort get angry, throw them off their property for no reason or any reason!

Why can't** bums **just not allow themselves to get angry or sad when comfortable people get angry at them when people who are financially comfortable just get in an angry mood?!

Daddy said that it would be hard to help people who are poor: but how!?

Could that be: she thought about how **Allison** didn't believe Daddy when **Allison** was 17: so how?

Could she force **Allison** herself to not?!

Believe it now that she was entering the real world: why?

Can't she be that logical now that it's actually happening!?

To **Allison**: is it true: as!?

Some religion says that bad people create their own Hell: are bad.

Things coming back to **Allison:** all of the single frames of the life memories of the picture she made.

Of her life through her eyes were fast-forwarding through her memories of the poor persons **Allison** had hurt in the real world: along with the guilt, the depression, the sadness, the anger until it became the crescendo of an insane symphony.

Was this irony?

It cannot be: **Allison** is a good person: isn't she: the insane opera symphony is still racing upward: higher-and-higher until **Allison** only can do one thing: call the number of the one person she could admit **Allison** feels guilty** too**: the insane crescendo raises: raises: as **Allison's** fingers fumble at the button-dials of the fancy: old fashioned: golden telephone!

She quickly brought the receiver over, up to **Allison's** face.

She quickly dialed across the buttons: the number that would bring **Allison** the voice of the one person who knew the same guilt, depression, sadness about kicking poor people off of **Allison's** land.

Meredith-7 'RENT INTERLUDE, ALISON BABY

Meredith-8 'RENT INTERLUDE, ALISON BABY

This one voice agreed with **Allison** no matter how wrong they both were in this matter.

This was the voice that would keep asking, talking with **Allison** about, Why don't poor people realize that we are trying to help them: until they both forgot how wrong they both were in the whole matter.

After the other cell phone rang: she interrupted the word, **hello**: **Allison: **immediately called out, _**Coffin: **_**is it you?!**

_Coffin _finally said to her, **Allison** **baby: you sound sad:**

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	2. Chapter 2

Larson, Jonathan and D. Approximate Words Counted 300

56 Cottage 2014, Jonathan Larson & G.

Disposable Copy

Extension-0823

Introduction, Angel Never Takes No for an Answer

by

Mark Walter Meredith

Short story about what happens after Thomas Collins and Angel walk off down that alley together and what I imagine his apartment looks like as she and him hem an' haw before their first kiss. Larson owns: in many ways! That is because he rules and Larson owned! Hilarity ensues for the audience as both their senses of humor clash and creates a spark of wits.

This is rated M.: because it's an adult situation.

I like, also, to artistically change every letter with boldface: ita_lic_s: capitals: **un**_der_line: etc.: In addition, this way it all might sound in the mind the way I would read it to you, maybe. Perhaps it makes me merely seem nuts. That's for you to decide.

The End

D, Jonathan Larson _Approximately Words Counted 2,000

56 Cottage _2014, G, Jonathan Larson

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Angel Schunard Don't Take No as an Answer

by

Larson, Jonathan & Meredith, Mark Walter

The time and date was; _**Decem**_**b**_**er**_ twenty-fourth: 9:10 P.M.: Eastern Standard Time.

Angel led him past the Eleventh St. lot where a tent city full of homeless in their tents rose up from the grounds of the lot as Angel and Collins walked across the street crosswise**.**Angel turned around: smiling at **Collins**: slowly pulling his hand. Collins stopped a second saying, **my friends: though: why are you doing such to help someone like me: somebody you just met? My friends wait for me. **

**They are waiting: spending Christmas together: Davis**_**,**_** Cohen **_**and**_** I used to live together in this studio loft together. It's Christmas! I have to go!**

Angel said, "Wrong: it's not Christmas: it's Christmas Eve: and Christmas Eve deserves a Christmas dinner don'tya think? I think you asked a question in the same breath you answered your question. **Why am I doing it**, you asked. I've already said it: I am doing it because **Hell, it's Christmas Eve**! You should get more for a Christmas feast than a couple a' knuckle sandwiches. Davis and Cohen can have **Collins** as a present on Christmas morning: let me make you forget about being mugged**."**

Angel led the way with **Collins** trailing after by his arm and gently grasping hand. **Collins** let her drag him along after Angel because this Angel intrigued him**: **and he wanted Angel to pull him along after him toward his apartment. Collins knew he could break out of Angel's light grasp but he loved the gentleness of it and wanted to go to Angel's apartment with Angel! **Collins** knew from Angel's kindness and obvious sincerity that it wasn't a trick of any kind.

It wasn't too **good** to ever be true: Angel was too true to be bad for** Collins. **If Angel meant ill toward **Collins**, Davis, and Cohen: then Angel would have been more blatant about having sex with him. He would make many sex promises about all the explicit things she was going to do to Collins. Angel would take Collins to Angel's apartment and hit him over the head, turn his skin into a **lampshade**: but she wasn't over advertising: nor was Angel smiling evilly so **Collins** didn't have a scary feeling that this was too good to be true. So Angel was no Jeffery Dahmer: obviously.

**Collins** was only afraid **Collins's** friends were going to worry for him but **Collins** wanted to go along for the ride with Angel anyway! **Collins** joked: asking, **what if Cohen and Davis are waiting for me to pitch in for a Christmas feast?**

Meredith-2 'n't Take No for an Answer

Angel quickly answered, "You had no money to get Christmas dinner with."

**Collins** replied, **yeah: I know: just checking to make sure, you're paying attention. **Angel and **Collins** walked past the government recreation center where a homeless woman slept on a small mattress: like usual. Being led by Angel: **Collins** questioned, "Why do you all-of-a-sudden walk some sort of like a woman now that you met me? You've been outfitted in clothes which some sort of are macho: y'know."

Meredith-3 'T Take No for an Answer

Angel stated; **I walk as a woman due to how I am a real woman. Say for an example a homophobe comes up to me and says I'm a male that wishes he were a woman. I make it: **_**rule of thumb**_**: that I say back; **_**I am a real woman.**_** I was born a man. **

**I have the junk of a male but I have put a lot of work to walking like a model and walking in heels: wearing clothes as a woman wears in public **_**too**_**.**** Collins asks why am I dressed macho. Angel says, **_**I dress macho because I am a cross dressing super-heroine: and I am in my secret identity now.**_** It's true: all of it: I'm a cross-dressing crime-fighter: except for the fighting crime part: of course. **

**I do dress up as macho at times so nobody can see I am cross dresser at times. It is better for business when I am drumming for spending money: tho**.: by the time that Angel finished talking: she led **Collins** up the stairs to her building stairwell: and up into inside her apartment before he even knew and realized that he was through her unlocked and opened door**.**She told him to, "Wait in here." as Angel pointed down to the edge of the rug that **Collins** was standing at: Angel pointing an index finger at his Timberlands-style boots**: **Angel had baby-blue polish on Angel's nails that looked like they were scraped partially off with a workman's fine chisel.** Collins **heard that the guy that made up the story for True Romance the movie would have his nails done in the **same fashion** as that only with black polish chiseled as such in early retro 80's punk style which was coming into fashion once again**.**

Angel then said, "I'm going to the next room to get something to show for ya. I want you to see! I'll be back soon**!"**Angel walked through an opened door and shut it closed**.**The room was a study room with a desk and closet in back in a Japanese motif: incense and an incense-holder were on the desk with music sheets Angel was obviously writing. Somebody obviously wanted to concentrate while writing music sheets and **Collins** saw a glimpse of a meditation mat in front of a Ninjutsu blade scabbard holder up against the other wall: and then the door closed: it all part of the Oriental theme that pervaded the rest of the apartment to a lesser extent? There was more to Angel than met the eye: her dreams and hopes: aspirations: her dislikes/likes.

Perhaps Angel practiced the martial arts. **Collins** noticed Angel's legs on the way to this building: thick. Maybe Angel could give a mean kick if somebody bothered Angel**. **Angel probably had good-looking legs: kind of bossy: but **Collins** some sorta liked that from time to time to time from people that were attractive.

**Collins** stared at the wooden door in that **still** silence for a few seconds: then looked around at the room he was from inside the door, _"_You don't have to stand there literally: you can sit** down**. Sit on the bed out in the living room: not the sofa. I can throw out the sheets but not the couch! I'll be out to put hydrogen peroxide on your knee in a second. I'm sorry the furniture is all rearranged in a weird way: I'm trying to (pronounced fung shway) feng shui the apartment so I can think when I write music: will be right out after I'm changed for support group!" _H__**um**__**:**_ Collins had noticed something strange about the king size bed with the living room and the bureaus in strange places but he didn't say anything about it. **Collins** sat on the edge of the big bed: and tested the bounce a couple of times: very cushiony.

Finally, the wait was over for him and Angel came out, **Collins** was astonished!** Collins **thought that she just felt sweaty from be**ing** out all day and forsake a shower for merely a change of clothes because Angel had a guest in her place: but this was a change**. **Angel was wearing a St. Nick coat: high heels: a wide St. Nick belt: and a wig**. **Angel said, "Like it** Collins? **Do you think it's cute **Collins**?"

Meredith-4 'T Take No for an Answer

Meredith-5 'n't Take No for an Answer

**Collins** stared in awe; **I love it. You're going to wear that to group?**

Angel replied, "Of course I'm going to wear this to support group **Collins**! Don't you get it **Collins**? I'm St. Nick with a Christmas surprise! My surprise is that the reason I am dressed as St. Nick is because it's Christmas: don't you get it **Collins**?!?"

**Collins** answered, **of course I get it! I thought for a few seconds that this was for my own enjoyment: and I was going ta' make sure this was all fer me: not for group or giving presents to friends: that's all.**

Angel caressed **Collins's** face and replied, **I **_**am**_ **all for you today hon.-e!**

Angel knelt down: continuing to say, "Now: let's put some Mercurochrome on your leg. Pull your pants leg up so that Nurse Angel could see the whole skin area. Is** Collins' **jeans cuff big and loose enough for that? Good: now let's put some Mercurochrome on this."

Meredith-6 'Schunard Do'

**Collins** said, "What the heck is Mercurochrome?" When Angel entered the room a second ago **Collins** marveled at her: what Angel wore that he didn't notice the three bottles nor the band-aids in Angel's left hand by the necks of the bottles.

Angel answered, **it's iodine: Mercurochrome is the same as iodine: just different name: that's all. This **_**will**_** hurt.**

**Collins** by now had pulled his pant cuff up over his knee and Angel put a drop of Mercurochrome on his leg where it was skinned. **Collins** yelped, **ouch!**

Angel stated the fact, **it isn't as bad as all that is it y'big silly willy?**

**Collins** said, **yeah it is.**

Angel said, **OK: maybe it is****. **Angel then used cotton in her palm to put **on** rubbing alcohol and hydrogen peroxide**. **Angel put a band-aid on and the blood was cleaned by then.

**Collins** looking at Angel's legs for a while by now: said, "You've got nice legs."

Angel said, "Thank you: you should see them in my zebra stripe tights". She got on** Collins's **lap with Angel's arms around **Collins's** neck loosely and looked into** Collins's **brown eyes.

Meredith-7 'N't Take No for an Answer

**Collins** asked seriously, "You aren't wearing any underwear under that St. Nick coat and belt are you?"

Angel: answered, **not until I show you how I look in striped zebra tights: I'm not at least. **Angel put Angel's forefinger on Angel's thick tongue, then put her finger on the side of the bottom of the St. Nick coat, and made the sound effect, **tss!**

_**D**_ecem**ber** twenty fifth_: __**ten**_ P.M.: Eastern Standard Time: **Collins** slides open the studio door. **Collins** happily calls out, **Merry Christchmas: bistchmass-es****!**

Cohen exclaimed, **fourteen hours later **_**where**_** were you?!** Cohen grasped him and hugged **Collins** hard after being gone so long.

He felt pain where his back had hit the alley wall and **Collins'** back drug down the wall: hurting the muscles in his bruised back muscles: he called out_**, ow-wow-**_** wow ow**_**!**_

Cohen asked: concerned, **are you O.K?!**

**Collins** answered, **I've never been better:**

Meredith-8 'N't Take No for an Answer

The End


	3. Chapter 3

Approximate Word Cnt. 600

_2014,

Disposable Copy

Hallowe'en': Short Intro

by

Mark Walter Meredith

I've written a FanFiction novel adaptation of Rent the Movie, I have sold my guitar just like Tony Rapp in Rent so I can get bound 21 copies of Rent the novel for my FanFiction-friends. Hey guys (!), I found the perfect place to put the missing scene called Hallowe'en' in Rent the movie. I want to write a FanFiction book of what the movie is about, show what the bohemians are thinking during Rent! I'm not sure I want putting it on the Net though.

In the play Adam sings Hallowe'en' before the church. I always have wanted to write that scene, showing blow by blow what Adam thought during that scene, plus showing where the beginning, end work into the scenes in the theatre version. If you put the scene right before the funeral the deleted scene looks as though Adam goes from walking in the graveyard to teleporting into the funeral, so I put him walking in the graveyard after the church, not before. When I first got the movie Rent on DVD, I made mix DVDs with subtitles automatically on without setting subtitles every time: one mix with most deleted scenes edited back in.

One part I don't like though is the point where Rapp runs to meet Diggs at a bar, there's a long talk where Rapp is told that Dawson loves only Rapp. I can see the true reason they took it out, it's too long. I just have the part there when Rapp is running right after Rapp is looking for Dawson. That is how I make part of the deleted scene look as though Rapp's running to look for Dawson.

I find that if you edit in the excerpted scenes from the deleted scenes part of the disk, the movie is as dramatic, emotionally draining as the rock opera. I made a disk mash up of the song scenes, too: I have also a DVD of all the best scenes, et cetera: an assignment for English class: been updated April 6 2014: this story's Tom CollAngel Schunard. Is a relationship that is Rappx Dawson in: "Here".

Put me on your list of favorites if you like my writing, eh?

I like, also, to artistically change every letter with boldface: ita_lic_s: capitals: **un**_der_line: etc.: In addition, this way it all might sound in the mind the way I would read it to you, maybe. Perhaps it makes me merely seem nuts. That's for you to decide.

The End

_Apprx. Word Cnt. 1,100

_2014,

_Disposable Copy

Hallowe'en'

by

M. W. M.

After the funeral reception Mark Cohen walked slowly out of the front steeple of the church through the crosses that were tombstones to where the park adjoined the graveyard. It wasn't very far to the payphone that stood there sticking out of a concrete block. Mark picked up, put a few quarters into the slot. It was time to sell out: Mark looked one more time at the Alphabet City bohemians standing in front of the steeple hugging one another one-at-a-time, giving their condolences to Thomas Collins.

Mark thought Angel Dumott Schunard's death would bust the family asunder in shards, definitely. Mimi will have to say good by to Roger: since Angel has died Mimi has no connection to the friends, Mimi will have no place else to go, Benjamin Coffin, the third is a poor substitute for the love she has for Roger. Benji Coffin has found Benji Coffin's own life now, has only a business relationship for now with our family. Roger has been destroyed by Angel's death.

Maybe it was time to stop being a bohemian, stop pursuing art, start letting a real job crush your spirit. Mark started to walk along the incline of the hill as Collins, Roger; Gordon, Paul, Joanne Jefferson, Maureen Johnson carried the coffin up to the first row of gravestones. Collins, Roger, Gordon, Paul said they wanted to do it themselves since they had Acquired Immunodeficiency Syndrome, that they were taking prescription steroids in pill form as people with AIDS do to keep them healthy for as long as possible. They also had said that Mark was too delicate, to help.

They said that because they had AIDS that carrying the coffin was personal. Roger kept saying over, over to Mark, "You just don't know." What did, "You just don't know", mean? Mark is on the sidelines on the outside, once again.

It's sad, but true. Jo has always been athletic, a dancer, Maureen works out at Gold's Gym, so they decided to help as if Jo, Maureen wanted something proven. They both said Mark didn't understand because he was not homosexual like Angel, too. Mark walked slowly as leaves seemed to be drifting slowly all around Mark to the grassy hill.

He held the .22-millimeter cam. in Mark's right hand. Mark said then: ": How _did_ we _**get**_ here? **How** the Hell": Mark received a glimpse of inspiration, taking up the .22 mm. Mark then smoothly, slowly swung the film camera to the right. He talked out loud unconsciously, only half paying attention to Mark's self: ": Pan left; close in on the steeple of the church: How **did** we get here? How the Hell": Mark realized what it was, that happy day that brought the bohemians together.

Is what brought the family together for the first time, that one day that now felt like a curse. Mark spoke that one word with disgust, **Christmas: Christmas Eve last year: **Mark pictured that him, Roger were in that candle lighted studio on that night but why did this very memory make (Mark) him feel that frozen evening was so burning hot on Mark's supposed skin on that night? Why in this memory that haunted him, did Mark feel as if his hide were giving Mark burning hot flashes!? That memory, that day, felt as if it was cursed upon Mark, that Mark didn't want to ever meet another friend for long as Mark lived.

He began walking once more, began to talk out loud to Mark's self once again, "How can a night so frozen feel so scorching hot? How can a morning **this** mild feel so wrong"? It was a beautiful day, the day was beautiful, the morning had the traits of a beautiful morning but to him: Mark couldn't make Mark himself feel the beautiful day. Mark began to think out loud to himself again, "Why are years lying on the **cutting** room floor of memory, when single frames from one magic night forever flicker in close up, on the 3 D Imax of my mind"? Mark stopped for a sec. to weigh, feel the weight of Mark's right hand, as if to weigh the metaphor he had said to see if the non-existent words held any weight to him.

Angel's death itself had made the words feel as false, plastic, hollow_:_ as the intangible weight of the empty air in Mark's hand. Mark said to Mark's self, "That's poetic. That's pathetic." Mark started walking once more. Mark unconsciously thought to himself aloud, "Why did Mimi knock on Roger's door, Collins choose that phone booth back where Angel set up his drums? Why did Maureen's equipment break down? Why am I the witness:' when the lights go down, will it mean that it's the end?! '**I**'m alone": Mark had been looking down at the film camera unconsciously, operating it but when he'd said that last question, talking to himself; Mark realized that when the movie ended that the lights would go down on the stage, the blinding audience lights would blink on.

The audience light would cut on to reveal Mark surrounded by empty chairs. Mark began to slowly look up from the .22 mm. cam. with sudden realization.

Mark would be alone. Mark ambled the rest of the way to the group of others as if it were the end of the world. Collins put one rose on the lid of that coffin; the family began to walk up the incline of that hill t'wards the family's end.

The End


	4. Chapter 4

Approximate Word Cnt. 600

_2014,

Disposable Copy

Hallowe'en': Short Intro

by

Mark Walter Meredith

I've written a FanFiction novel adaptation of Rent the Movie, I have sold my guitar just like Tony Rapp in Rent so I can get bound 21 copies of Rent the novel for my FanFiction-friends. Hey guys (!), I found the perfect place to put the missing scene called Hallowe'en' in Rent the movie. I want to write a FanFiction book of what the movie is about, show what the bohemians are thinking during Rent! I'm not sure I want putting it on the Net though.

In the play Adam sings Hallowe'en' before the church. I always have wanted to write that scene, showing blow by blow what Adam thought during that scene, plus showing where the beginning, end work into the scenes in the theatre version. If you put the scene right before the funeral the deleted scene looks as though Adam goes from walking in the graveyard to teleporting into the funeral, so I put him walking in the graveyard after the church, not before. When I first got the movie Rent on DVD, I made mix DVDs with subtitles automatically on without setting subtitles every time: one mix with most deleted scenes edited back in.

One part I don't like though is the point where Rapp runs to meet Diggs at a bar, there's a long talk where Rapp is told that Dawson loves only Rapp. I can see the true reason they took it out, it's too long. I just have the part there when Rapp is running right after Rapp is looking for Dawson. That is how I make part of the deleted scene look as though Rapp's running to look for Dawson.

I find that if you edit in the excerpted scenes from the deleted scenes part of the disk, the movie is as dramatic, emotionally draining as the rock opera. I made a disk mash up of the song scenes, too: I have also a DVD of all the best scenes, et cetera: an assignment for English class: been updated April 8 2014: this story's Tom CollAngel Schunard. Is a relationship that is Rappx Dawson in: "Here".

Put me on your list of favorites if you like my writing, eh?

I like, also, to artistically change every letter with boldface: ita_lic_s: capitals: **un**_der_line: etc.: In addition, this way it all might sound in the mind the way I would read it to you, maybe. Perhaps it makes me merely seem nuts. That's for you to decide.

The End

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Hallowe'en'

by

M. W. M.

After the funeral reception Mark Cohen walked slowly out of the front steeple of the church through the crosses that were tombstones to where the park adjoined the graveyard. It wasn't very far to the payphone that stood there sticking out of a concrete block. Mark picked up, put a few quarters into the slot. It was time to sell out: Mark looked one more time at the Alphabet City bohemians standing in front of the steeple hugging one another one-at-a-time, giving their condolences to Thomas Collins.

Mark thought Angel Dumott Schunard's death would bust the family asunder in shards, definitely. Mimi will have to say good by to Roger: since Angel has died Mimi has no connection to the friends, Mimi will have no place else to go, Benjamin Coffin, the third is a poor substitute for the love she has for Roger. Benji Coffin has found Benji Coffin's own life now, has only a business relationship for now with our family. Roger has been destroyed by Angel's death.

Maybe it was time to stop being a bohemian, stop pursuing art, start letting a real job crush your spirit. Mark started to walk along the incline of the hill as Collins, Roger; Gordon, Paul, Joanne Jefferson, Maureen Johnson carried the coffin up to the first row of gravestones. Collins, Roger, Gordon, Paul said they wanted to do it themselves since they had Acquired Immunodeficiency Syndrome, that they were taking prescription steroids in pill form as people with AIDS do to keep them healthy for as long as possible. They also had said that Mark was too delicate, to help.

They said that because they had AIDS that carrying the coffin was personal. Roger kept saying over, over to Mark, "You just don't know." What did, "You just don't know", mean? Mark is on the sidelines on the outside, once again.

It's sad, but true. Jo has always been athletic, a dancer, Maureen works out at Gold's Gym, so they decided to help as if Jo, Maureen wanted something proven. They both said Mark didn't understand because he was not homosexual like Angel, too. Mark walked slowly as leaves seemed to be drifting slowly all around Mark to the grassy hill.

He held the .22-millimeter cam. in Mark's right hand. Mark said then: ": How _did_ we _**get**_ here? **How** the Hell": Mark received a glimpse of inspiration, taking up the .22 mm. Mark then smoothly, slowly swung the film camera to the right. He talked out loud unconsciously, only half paying attention to Mark's self: ": Pan left; close in on the steeple of the church: How **did** we get here? How the Hell": Mark realized what it was, that happy day that brought the bohemians together.

Is what brought the family together for the first time, that one day that now felt like a curse. Mark spoke that one word with disgust, **Christmas: Christmas Eve last year: **Mark pictured that him, Roger were in that candle lighted studio on that night but why did this very memory make (Mark) him feel that frozen evening was so burning hot on Mark's supposed skin on that night? Why in this memory that haunted him, did Mark feel as if his hide were giving Mark burning hot flashes!? That memory, that day, felt as if it was cursed upon Mark, that Mark didn't want to ever meet another friend for long as Mark lived.

He began walking once more, began to talk out loud to Mark's self once again, "How can a night so frozen feel so scorching hot? How can a morning **this** mild feel so wrong"? It was a beautiful day, the day was beautiful, the morning had the traits of a beautiful morning but to him: Mark couldn't make Mark himself feel the beautiful day. Mark began to think out loud to himself again, "Why are years lying on the **cutting** room floor of memory, when single frames from one magic night forever flicker in close up, on the 3 D Imax of my mind"? Mark stopped for a sec. to weigh, feel the weight of Mark's right hand, as if to weigh the metaphor he had said to see if the non-existent words held any weight to him.

Angel's death itself had made the words feel as false, plastic, hollow_:_ as the intangible weight of the empty air in Mark's hand. Mark said to Mark's self, "That's poetic. That's pathetic." Mark started walking once more. Mark unconsciously thought to himself aloud, "Why did Mimi knock on Roger's door, Collins choose that phone booth back where Angel set up his drums? Why did Maureen's equipment break down? Why am I the witness:' when the lights go down, will it mean that it's the end?! '**I**'m alone": Mark had been looking down at the film camera unconsciously, operating it but when he'd said that last question, talking to himself; Mark realized that when the movie ended that the lights would go down on the stage, the blinding audience lights would blink on.

The audience light would cut on to reveal Mark surrounded by empty chairs. Mark began to slowly look up from the .22 mm. cam. with sudden realization.

Mark would be alone. Mark ambled the rest of the way to the group of others as if it were the end of the world. Collins put one rose on the lid of that coffin; the family began to walk up the incline of that hill t'wards the family's end.

The End


	5. Chapter 5

Approximate Word Count 300

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GUIDE, INTRODUCTION

RENT MUSICAL'S

FANS' ARTICLE ABOUT

WHAT'S

IN

THE OPERA 'VIE 'BOHEME!

by

Mark W. Meredith

Did you know that Rent was based on the classic book 'Scenes De La Vie De Bohe`me? You ever see the opera La Bohe`me and not know what what's going on?! This may help! Relive the rock opera Rent!

All the drama: all the joy!

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A RENT

PLAY FAN'S

GUIDE TO WHAT HAPPENS

IN BOHE`ME

by

Mark Walter Meredith

It all begins on Christmas Eve's day. Marc. C. is living in the attic studio apartment of a building making a picture. It is Christmas Eve's day, and Marc. wants to get out that evening, and do **something** but he only gets enough money barely to finally eat every once in a while, and sometimes eat dinner at the nearby Café. Still he does not want to stay inside all evening: even if Marc. has to use an errand _as excuse_ to get out, and Marc has to do drudge work on that errand.

The window in the back of the stage is practically a wall of smaller windowpanes making a giant **window** -_**wall**_. In the middle of the large studio apartment there is an old fashioned wood burning stove, a table, and a backup candle in case it's too dark. Marc starts to ask what R. D. is doing. Marc's roommate R. is putting off his writing of stanzas that rhyme, finally: after so long.

Collin. comes back to the building, and gets the key so that Collin. could open the door.

Marc's girlfriend has recently broken up with Marc so that she could date a richer person. Marc's ex-girlfriend has always been a vivacious person who people like to party with, and it is very easy to be jealous of the people that hang around her: and mistake her friendships for romantic interests in others that isn't really **there**. A rent slip is soon held out as the person sings out_**, **__**"**__**Rent**__**!"! **_

There is no electricity so Marc's roommate has lit a candle because it is too shadowy to see what they are doing. Marc notes that, **we're, ['hungry.]** Marc jokes that the writing that R has written sounds awful. Marc; R hear the proprietor, and try to screen **Bennie** but he still gets through. An interval was now up, and **Ben** wants the rent that is then due now that he **arrives**. 

R: Marc's roommate has grabbed some pages of his writing, and has burned them for warmth. Marc had wanted to burn two of his pictures. Marc had been burning one of his thousand word descriptions, but when the roommate was then burning R's poetry, he was saying things like how the fire's warmth was like the warmth of a woman's ardent, passionate: love. R says that his papers have the spark of wit!

He didn't want to spend what little Marc-himself wanted to save for dinner at the Café` so Marc drew a line, and made a stand, and did not agree to **Ben's** payment. **Ben** walked away from that door of the building without his payment: yet at least: and R; Marc close the door with the lock behind them. Marc moreover, R has to pay at least three months of rent backed up.

Later when Collins. finally meets up with Sch'unard: Collin is asked if Collin is dying: he says he is not dead unfortunately, not yet at the least.

Meredith-2 A RENT PLAY FAN'S GUIDE TO WHAT HAP'

Mimi: walks up the stairs: blowing out Mimi's candle. R tries to write but cannot. Mimi is a young Latino woman.

A petite young woman; later; knocks on the door to the apartment: her name is Mimi; she lives in the building, and Mimi pretends that she needs a match: for somebody to help ignite **her** candle with **her**. When Mimi spins around, she feels faint, and loses her balance for a second. The room is spinning around Mimi's head: to her. R catches her before Mimi regains Mimi's balance shortly: and her composure too.

R asks if Mimi is O.K. After R lights her (Mimi's) candle: R says, "Good night". Mimi walks to the doorway, and the breeze coming through the edges of the window, and making a draft near the door is about to blow out the candle. The ideal woman lets the candle blow out purposefully.

Mimi says that she has dropped the key to; how Mimi was going to spend_ the rest of her evening__._

R is staring at Mimi's head, and how beautiful it is in the moonlight. R looks at Mimi's hair in the moonlight: shining, Mimi has a halo of light around her head: looking like an angel of the first degree. Mimi asks R to help Mimi look for her key to the rest of her evening. The candles they both are holding coincidentally are snuffed out just then.

Mimi, and R feel along the ground hurriedly, and R. coincidentally finds her key, and puts it into R's pocket because R doesn't want her to have it. Mimi, and R's hands meet, and R, Mimi hold hands for warmth! Mimi gets Mimi's key from R. She says, **they call me Mimi **

That is the end of Act I.

_t__**o**_

_**be continued**_ **in **_**Act **_

_**II **_**RENT **_**GUIDE, TO BOHE`ME**_

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A GUIDE, WHAT'S

IN LA DE BOHE`ME, ACT II

by

Mark W. Meredith

_Mimi_ asks **R****.** to take her out: tonight. Later on in that day _Mimi,_ offers to take** R** back to _Mimi's_ apartment where they could be alone. Later** R** asks _Mimi_ to go to dinner at R'.s ol' favorite nearby Café`.

_Collin_ comes in: his feet are frozen!

Marc.: now that C. knows that _Collin_, is there; C. announces that, a wild night, is destined! An. Sch'unard.'s friend opens the door for Schunard. Now that _Collin_ has joined C., and** R**: **R**, C. finally meet Schunard who has bought provisions: food, tobacco for smoking, and some alcohol to drink. After _Collin_, and Schunard show up, and they can drink: C. says is a feast that is preordained!

Schunard brings something else they need: wood! _Collin_ had carried in _the firewood_. Schunard divides his money among them all. Schunard tells** R**, C, and _Collin_ about how Schunard got the money for the food: that Schunard had met someone who lived in a nice, expensive neighborhood, and paid Schunard to play Schunard's music until someone's pet died!

It is understood that Schunard will pay today for Schunard's guests C, _Collin_, and** R**: tomorrow _Collin_, R, and C. will pay when _Collin_,** R**, and C. run into some money. Now that Collins. finally has met up with Schunard; they have gone outside in the cold, and _Collin_, Schunard go out then see someone hawking jackets. The hawker is a she**.**_ Schunard buys something_**. **_

Perhaps one can even see the Statue of Liberty in the background_**. Collin**_ gets a new coat. Schunard offers to pay for supper. Another evening comes** R,** _Mimi_, C, _Collin_, and: A. Sch'unard. meet at the nearby Café that is their favorite Café**`!**

**R** introduces _Mimi_ to C**.** ** R** wants to stay indoors, and try some more to write some stanzas that rhyme but decides to enjoy the night with _Mimi_, and go out. R, and _Mimi_ show up at the front of the Café: _Mimi_ in her hat. People are hawking cheap things to buy on the street.

C.'s ex-girlfriend M. shows up right in front of their favorite nearby Café`: with M.'s new rich partner O. M. kisses C. The rich person Mr. R. is there at the Café`.

Meredith-2 'I

**R** tells _Mimi_, **I should tell you: **but doesn't impress upon _Mimi_ nor emphasis the point that he needs to tell **anyone R** is in a relationship with: **R** is _very_ jealous of other men during a relationship with a woman, and** R** **will make **_**Mimi's**__ life Hell__**. **_Earlier _Mimi_ told** R** that _Mimi_ is dying of disease_**. **_M. orders 'Ann. around on errands like a dog practically_**. **_Schunard, and _Collin_ ask for wine_**. **_

_**Collin**_ is a philosopher_**. **_C. begins singing along; loud enough for 'Ann to hear: but 'Ann does not think that C. is talking specifically about M. at first_**. **_

_*****_**To be continued in A FAN'S GUIDE, IN DE**

**BOHE`ME CHAPTER III***,

Meredith-3 'HE`ME, ACT II

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A GUIDE, HAPPENINGS IN DE LA BOHE`ME, **PART THREE **

by

Mark W. Meredith

Marc Co has said that M'u. 'Onson.'s insides are cold, and frozen_**. Mr. Co**_ sings along a musical number about how M's eyes burn when she feeds on other men's burning desire for M; _**Mr. Co**_ sings along with his musical song about the dance that M makes the people M flirts with: go through_**. **_M has sung a musical's song about how when M is walking down the street everybody stares at M. M, and life partner both say, good by at the same time as M walks off going M's own way!

Three days have passed. _**Mr. Co**_ has joked about how _**Mr. Co**_ has been working on his picture since early on: Christmas Eve: and what is _**Ro.**_ doing? Sadly, enough guess what_ R _doing (?) nothing! _ R _gets jealous that Mimi is cheating with someone else.

Who is_ R _jealous of? Most likely _R's_ jealous the landlord Ben is having an affair with Mimi: Ben: who has said that he has cheated on Ben's wife. _R's_ jealousy makes Mimi, and_ R _miserable. Later on, Collins has his trench coat folded in half, and folded over into a bundle: holding it in front of Collin.

_R _is leaving the building, and thinks that Mimi isn't there listening when_ R _says out loud that_ R _can't let himself get any closer to Mimi because_ R _is afraid of Mimi dying soon: and_ R _can't let himself be hurt by Mimi's dying. When_ R _sees that Mimi was there listening to_ R _the whole time_ R _was talking: Mimi says good-by to_ R._ The weather is cold again when _**Mr. Co**_ has left a tavern, and was overhearing Mimi saying that Mimi is miserable because _R_ is jealous, and that _R_, and Mimi were going to **break up**. Mimi has to say, **good by love.**

_R_ cannot split up from Mimi: norbe away from Mimi. Mimi had been driven outside into the snowy-day by Mimi's misery. Mimi is coughing because Mimi was driven out into the snowy day by Mimi's misery over _R's_ jealousy. _R_ tries to write _R's_ poetry with a pen but cannot find his song because _R_ is thinking about Mimi, and _R_ is being consumed by love.

Mimi doesn't want_ R _to split from Mimi so they decide to stay together, and wait for spring, and take it day-to-day, and see where the day takes them until Mimi's sickness claims her: and live for the moment; because it's better to forget the past; because the past is gone: and there is no day but today! Mimi has gone to live in a rich place but when the end of the opera comes it turns out that Mimi has gone missing, and M is helping to look for Mimi. _ R _knows that Mimi was _R's_ writing-piece since the night_ R _was procrastinating _R's_ **poetry**, and Mimi became his inspiration. _**Mr. Co**_ when he is making _**Mr. Co**_'s picture_**: Mr. Co**_ keeps sensing a pair of lips: inspiring _**Mr. Co**_ to make _**Mr. Co's**_ picture.

Finally, M happens upon Mimi in the cold: barely able to walk. _ R _tells Mimi not to talk, and to rest, and Mimi instead whispers. _**Mr. Co**_ has said that_ R _has found _R's_ poetry. _**Mr. Co**_, Collin, and_ R _are back in their studio apartment _all_ without life partners; now.

Doctors are called but they are not coming in time. Mimi is dying of disease when M happens to come across Mimi so Mimi says to bring her to _**Mr. Co's**_ apartment building. M helps carry Mimi to _**Mr. Co's**_ apartment building. Mimi wants to spend her last moments with_ R. _

_R _in Mimi's presence has sung: letting her know that Mimi is the incarnation of song **itself. **Mimi was told that she was _R's_ poem all along. _ R _told Mimi that_ R _didn't get mad at Mimi because_ R _didn't love her: it was because_ R _did love Mimi, and he didn't want to be hurt by getting close to her right before she died. _ R _has said to Mimi that her brown eyes had surprised_ R _the night Mimi's pretty eyes came into _R's_ life.

_R _cradles Mimi's lifeless body.

Suddenly: Mimi has an out-of-body experience because her heart stops, and Mimi stops breathing for a while. _ R _after a while_ R _cries out, **Mi-mii-ii-i-i! **Mimi's hand falls off where she is lying when Mimi's spirit leaves her body.

Does Mimi come back to life?!

Does Mimi die?! You can go to the library system, and reserve a DVD now that one knows what is happening on the stage during the opera! Go to the nearest branch of your local system of libraries, and have their computer send a copy of La Bohe`me to your closest library!

Do it today!

Meredith-2 'E`ME, **PART THREE **

Meredith-3 'PENINGS IN DE LA

BOHE`ME**, PART THREE **

The End


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